Entourage's “The End”: Good Riddance
Was any final episode worse than “Entourage”'s final episode, which aired Sunday night, Sept. 11th, but which Patricia and I didn't watch until last night? I barely made it through the final 30 minutes. You saw where it was going, even if where it was going seemed impossibly stupid, which it was.
So Eric gets back together with Whatsherface, who is pregnant with his child, but who left him because her father hated him. Vince decides to marry the uptight British Vanity Fair writer, but why, and why does she choose him, and did we even see them dating? Ari gives it all up for his awful, awful wife wearing her awful, awful dress. It ends with the breakup of the entourage and multiple marriages. Cute. It thinks it's Shakespeare but it's closer to Conrad. The horror, the horror.
“Entourage” started out as a charming, boys-will-be-boys show about the Hollywood minutia between the moviemaking—the premieres, the talk-show appearances, the reviews, the girls—with everyone focused on the just-taking-off career of Vinny Chase. Ari, the agent, pushed for the big-budget blockbuster; Eric, the friend and manager, pushed for good scripts; he pushed for indie and respectable. That was the dynamic. What became the dynamic? There wasn't any. Instead of revolving around Vince, everyone twisted in an orbit of themselves and the show couldn't keep it all together. It became charmless and the boys became assholes. Eric started an agency, Turtle started a company, then another, then another. He became svelte, dated impossibly good-looking women, talked to lifelong friends as if they were clients. Everything sounded like a business deal except the business deals. It all felt false.
It began with four guys from Queens stumbling their way toward Hollywood stardom and ended with charmless, successful men giving it all up for charmless, shrewish women. It steals its big scene from “Shawshank”: the aria, swelling through Ari's offices, and setting him free from work. Everyone quits their job. In the middle of a recession. For women. Is that the Hollywood line? You can't have a J-O-B if you want to be with me?
This is Ari, to his wife, way back in season 2:
You can have it if you want to live in Agoura fucking Hills and go to group therapy, but if you want a Beverly Hills mansion, a country club membership, and nine weeks a year in a Tuscan villa, then I'm gonna need to take a call when it comes in at noon on a motherfucking Wednesday!
In the end, she wins. She gets it all. They move to Italy. Lord. Or maybe I should say they're about to move to Italy. Apparently there was a coda after the credits in which Ari is finally given the chance to run a studio, which he's always wanted to do, and the camera closes in on his face. In that second, I imagine, he becomes Ari again: calculating, ready to convince his awful, awful wife to give up her dream of doing nothing for his dream of doing something. That's key, actually. He becomes Ari again. Because in these final episodes he stopped being Ari, just as Vince stopped being Vince. So does Vince become Vince again in another coda? Does Turtle gain 50 pounds?
Hollywood changed our boys. Only Drama stayed true to character. Only Kevin Dillon continued to charm by bumbling.
The show closed with Led Zeppelin, “Going to California,” but it should've closed with The Doors:
This is the end, beautiful friend
This is the end, my only friend, the end
Of our elaborate plans, the end
Of everything that stands, the end
No safety or surprise, the end
The boys-will-be-boys beginning.
The end: So very tired.
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